Sony a7R Mark III review

Introduction

The Sony a7R Mark III is the company's latest high-resolution full frame mirrorless camera. Much like Nikon's recent D850, it's one that combines this resolution with high speed and fast autofocus capabilities to a degree we've not previously seen.

Like its predecessor, the Mark III is built around a 42MP BSI CMOS sensor, but unlike the a7R II, it can shoot at ten frames per second.

Essentially it can be seen as an a7R II that inherits many of the lessons learned from the company's pro-sports model, the a9. This means faster processing, improved autofocus, improved handling and ergonomics, as well as the adoption of a much larger battery. While some of the individual changes are subtle, they very quickly combine to produce a hugely capable and highly useable camera.

Key Features

42MP BSI CMOS sensor

Faster, lower-noise image processing

10 fps shooting with full AF, 8 fps with 'live' updates between shots

3.69M dot (1280 x 960 pixel) OLED viewfinder

Improved autofocus, including more tenacious Eye AF mode

5-axis image stabilization, rated at 5.5 stops (CIPA) with 50mm lens

4K footage from 'Super 35' crop region oversampled from 5K capture

Video AF less inclined to refocus to background

'Picture Profile' video gamma/gamut modes including S-Log2 and 3

Twin SD Card slots (one UHS-I and one UHS-II compatible)

Bayer-cancelling multi-shot mode for improved resolution

True 14 bit uncompressed Raw, even in continuous drive mode

Use of phase detection (including Eye AF) at 3 fps with adapted lenses

Sony says the a7R III is based around the same 42MP back side illuminated CMOS sensor as its immediate predecessor, so doesn't gain the full speed advantages of the a9's Stacked CMOS chip (in terms of AF performance, continuous shooting rate or reduced rolling shutter in video and electronic shutter mode). However, the adoption of the processing systems, algorithms and refinements introduced on the a9 all have their benefits.

This means a camera with a touchscreen and dedicated joystick for AF point positioning, a camera with a deeper grip and improved customization, with better laid-out menus and much improved battery life.

Video capabilities

Sony also says the improved processing will benefit video shooting. The oversampled footage taken from a Super 35 (~APS-C) region of the sensor is still expected to look better than the subsampled capture from the full sensor width but both are supposedly improved by the new processing chain. We'll delve into this later in the review.

To take advantage of the camera's dynamic range, the Picture Profile system of color and tonal response borrowed from Sony's professional video line now includes the even flatter S-Log3 gamma curve. That said, there is no 10-bit capture possible; the camera can still only capture 8-bit 4:2:0 footage internally or output 8-bit 4:2:2, which may limit the usefulness of S-Log3 if it makes posterization more likely when the footage is graded.

For users wanting to use the camera's video dynamic range with a high dynamic range display but without the extra hassle of color grading, the a7R III joins the Panasonic GH5 in offering Hybrid Log Gamma recording: essentially Log capture with tags to tell displays how to correctly render it.

Compared:

The a7R III's most obvious peer is the D850, since it's the other high-speed, high resolution full frame camera. We'll also note the changes relative to its predecessor and its other, less rapid high-res rivals.

Sonya7R III

Nikon D850

Sonya7R II

Canon EOS 5DS R

Pentax K-1

MSRP(Body only)

$3200

$3300

$3200

$3900

$1800

Pixel Count (MP)

42.4

45.7

42.4

50

36

Sensor type

BSI-CMOS

BSI-CMOS

BSI-CMOS

CMOS

CMOS

ISO Range

100-32,000

64-25,600

100-25,600

100-6,400

100-204,800

Stabilization

In-body (5.5 stops)

Lens-only

In-body(4.5 stops)

Lens-only

In-body(5 stops)

AF working range

–3EV (@F2)

–4EV

–2EV (@F2)

–2EV

–3EV

Viewfinder magnification & eyepoint

0.78x23mm

0.75x17mm

0.78x23mm

0.71x21mm

0.70x21.7mm

Connectivity options

Wi-Fi, BT(+NFC)

Wi-Fi, BT

Wi-Fi(+NFC)

Optional SD Card

Wi-Fi

Video

4K/30p1080/120p

4K/30p

4K/30p

1080/60p

1080/30p

Mic/Headphone

Yes / Yes

Yes / Yes

Yes / Yes

Yes / No

Yes / Yes

Flash sync speed

1/250th

1/250th

1/250th

1/200th

1/200th

Flash Sync socket

Yes

Yes

No

Yes

Yes

Continuous shooting

10fps

7fps*

5fps

5.0fps

4.4fps

Intervalometer

No

Yes

Via app

Yes

Yes

Memory format

SD (UHS-II)SD (UHS-I)

XQDSD (UHS-II)

1x SD (UHS-I)

CF (UDMA)SD (UHS-I)

2x SD(UHS-I)

USB (Connector)

3.1 (C)2.0 (micro B)

3.0 (micro B)

2.0 (micro B)

3.0 (micro B)

2.0 (micro B)

Battery life (CIPA)VF/LCD

530/650

1,840/ -

290/340

700/200

760/ -

Weight

657g (23.2oz)

1005g (35.5oz)

625g (22.0oz)

930g (32.8oz)

1010g(35.6oz)

*D850 can shoot 9fps when combined with a battery grip and D5-style battery.

As should be apparent, the Sony offers a combination of resolution, speed and video capabilities not easily matched by its peers. And, with the new battery, is able to offer much more similar endurance, if you're not in a situation in which you can plug the camera in to an external power source.

Not the same thing. You cannot precisely offset 4 images by a single pixel after the fact. Best you can do is take many images then overlay them to find an alignment that accidentally results in the necessary shifts. I've written such software and it usually requires at least 10 frames of random offsets to get a full Bayer 4-color shift. Works pretty well for astro-imaging but is unusable for most terrestrial pics.

And how does one move the camera between shots in a way that allows the necessary overlaps? Do you just kick the tripod and fire off a bunch of shots? Or is there a technique to this. And why is it unusable for pictures of Earth's surface?

"how does one move the camera between shots in a way that allows the necessary overlaps?"

Random movements will accidentally result in full Bayer coverage if there are enough shots. This is fairly simple for actual astro-imaging because x,y (RA, Dec) orientation is constrained by the equatorial mount, so movements are essentially rectilinear shifts.

But terrestrial hand-held shots will have rotation in addition to shift, which considerably complicates the overlay and can require even more exps. A sturdy fixed tripod can constrain rotation. Also terrestrial subjects tend to have movements (e.g. wind) that do not exist in astro and such subject movements can preclude taking the necessary number of random exps.

This is a limited and difficult procedure and I don't see it going main-stream anytime soon.

Hmmm... I do have an extremely heavy, solid old tripod. And "limited and difficult" is in the eye of the beholder because almost anything is less work than tray developing sheet film, spotting negs, and printing endless test strips and contrast variations, not to mention cutting out dodging and burning masks.

Great review, good stuff. One thing mentioned though that seems to be incorrect. The review claims that Pixel Shift does not support any strobes. Sony A7R III Pixel Shift guide linked below disagrees. Even the adjustable delay between Pixel Shift shots is said to be there so that one can gives strobes enough time to reload. The Flash sync in 1/13 secs due to electronic shutter "speed" eg. sensor-readout time.

Lack of flash would be quite limiting for studio/still life etc. So this functionality makes a lot of sense and even the long sync speed does not matter much when/if you are in 100% control of ambient light.

The minimum configurable delay between the exposures is obviously there for mechanical movement to settle or some other technical reason. Any longer than that minimum is for external reasons like flash recharge; since any scene lightning etc. changes are gonna make combining 4 exposures harder and artefacts more likely to appear adding any delay over "system minimum" is a bad idea.

I think it is unreasonable to expect m43 delays between the pixel shift shots, way more mass moved in 4x larger FF sensor.

Thats what i meant. It seems 1sec in-between is needed for it to 'move' 1 pixel in a stable way i guess. But the setting between 1sec and more is you can make sure your flash recharge. So it will work for flash thats clear to me. The only other reason i could possibly see for setting the time longer is to have more movement (say people) making it easier to remove/mask one of the images for removal of these objects...

I understand your feelings completely, Michiel, I own the A9, and now we have a new king, our cameras now are on the second rank. What can we say, and do? No one can compete against Sony on technology development. It doesn't necessarily mean that our cameras are obsoleted. I wish all the best to fellow photographers who can afford an A7RIII.

This works for cameras, computers, cars, stereos, and other expensive pieces of technology that develop rapidly:

Once you buy it, stop reading reviews of new items that come out until you are ready to buy again.

I recently damaged my A7R and so am now looking for a replacement. I had no idea my A7R had gone from being one of the best cameras available (I got it when it first came out) to an apparent POS until I started reading reviews of new cameras.

@DPReview staff: could you perhaps tell us a word or two about IBIS- performance. IIRC, Sony claimed to have improved Ibis performance by one full stop compared to previous implementations, so how good is Ibis in your experience?

comon, Its not like it wasnt done before.. need to sell more 3rd party equipment? Its like removing the calculator app from a smartphone... utterly stupid. Photography industry is so weird alot of times.

Guys at dpreview one thing is unclear from your review. Is it true that with a7r3 in SAF mode the eye af comes automatically and you don’t need to press and hold a button for it, but in CAF mode you still need to press and hold a button like on previous Sony cameras? Please verify

And if it's like most Sony updates, there are a ton of little feature improvements/additions that go unnoticed in reviews. Though you'd have to own the previous model to know what they are. People thought the only improvement the A6300 had over the A6000 was video, but nearly the entire camera was upgraded, inside and out.

I tried this camera for a short while at a Sony event and I just could not get past the ergonomics. Without the grip attached it just did not feel comfortable in my hands. Seemed like an a6300 only a little larger. Great camera but I don't think I can ever get past the nice grip of my 5D III (or DSLR sized camera).

Also was expecting to be knocked over by the viewfinder and I thought it just looked ok compared to my pro video cameras. Still some room for improvement in this area imho. Yes they cost more but feedback is feedback.

I was entertaining a switch to Sony but not yet. The 24-105 f4 looks like a great lens. What the Canon version II should have been! Great to see so much tech in the cameras and the march forward.

It felt the same on my hands, even the A9. The ergo is just not for my hands. The bottom edge of the camera rests on the thin portion of my palm, versus where most Canon DSLRs do, which is on the cushiony part of the palm. But oh boy, the technology is this camera rocks.

I generally use a compatible l-bracket with my cameras, and it helps a lot with ergos for large hands, and protects from drop damage. They're usually around $30.00 on ebay and are useful for many things - including being an l-bracket!!

@Noogy.... the bottom edge complaint is valid depending on the size of your hands but easy to solve with an L plate or small add on grip. The advantage of doing it this way for me is that I can deal with the handling when I need the camera to be as compact as possible and I get better handling when I don't mind the slightly bigger setup with the L plate. In reality I would have an L plate mounted to a 5DIII, D8xx or Sony most of the time anyway so it works out perfectly.

Since I use my A7rII on a tripod quite a bit I keep the landscape part of the bracket mounted most of the time. You can search Amazon or B&H for L brackets and there are different options. There is also a small grip extension for the A7rII but I haven't used that and I probably wouldn't but some might like that option.

A battery grip negates the size/weight advantage of Sony, since I don't use battery grips on my DSLRs. The A-series models of Sony, on the other hand, are small enough to grip comfortably, similar to the M5 and M6. Again, personal preference. Not to say one brand is better than the other. And yes I too shoot on tripods, 20-25% of the time during which ergo issues become virtually irrelevant.

@Noogy"A battery grip negates the size/weight advantage of Sony, since I don't use battery grips on my DSLRs"Sony with battery grip is the same weight of a DSLR without but actually more comfortable. You got a small lens? get rid of it. I remember a time that I was always shooting with my 1D bodies and the 5D series felt like babies. Yesterday I was holding a friend's Nikon D300 and it felt like a massive brick, oversized cameras. Funny how we adapt to tools.

At this point I think that it's quite hard for both Canon and Nikon to release a FF mirrorless camera. By this time they aren't in the position of neither being able to project a so technologically advanced camera without taking away resources from FF dslr cameras. Canon's mirrorless apsc is a good example of how Canon put the same sensor inside mirrorless and dslr but crop a lot of functions of the first.

And they aren't in the position of being able to release FF mirrorless unable to compete with mirrorless cameras like Sony A7RIII without collapse themselves. It's quite obvious that none is going to buy a Canon or Nikon FF mirrorless with a new mount that it's not able to match a Sony A7RIII like this.

At this point they have two possibilities, release just some aps-c mirrorless for amateur and enthusiast market (as Canon is already doing) or convert the whole pro dslr FF production into a pro FF mirrorless one, something I think it's never going to happen.

Yes, the fact that the lens mount has to different is just a killer for Canikon. Tough to know what they can do with their huge install base of EF lenses. Can they be adapted with a company designed adapter?

For Nikon? yes, they don't have the on sensor/live view technology required to make a compelling product. They either need to buy the technology from sony or design a new sensor from scratch. Then make new lenses for the shorter flange distance and new firmware with new focus algorithms. TLDR A ton of R&D.

For Canon? not as bad. the dual pixel sensor from the 5d mk4 can be shoved into a mirrorless body and it would work without too much effort. No it would not be as good as the A7rII/III. But probably enough to sway some of their existing users due to backwards compatibility. Optimized lenses are the main challenge for Canon. Which would require more R&D then the actual new body.

Bassman Canon already has a adapter for their EOS-M that is fully compatible with EF-Lenses.

The problem is making new lenses that have optimized AF motors for on sensor focus systems. And that also take advantage of the shorter flange distance. Which can lead to smaller mostly wide-angle lenses compared to regular fullframe glass.

the main problem for Canon and Nikon is that none interested in mirrorless is going to adapt their FF dsrl lenses to mirrorless body losing the benefit of having smaller lenses or lenses made to integrally match the mount of the body. Ok you can do this but it would't be practical. From the experience none uses Sony A mount lenses on their Sony A7 FE cameras.

I use FF dslr for work but if I am going to use a mirrorless I would only use it with its own mount matched lenses as I don't like frankenstein like cameras with cumbersome adapters and half the functions of a native lens.

Well, Canon at least does have tipped their toes into mirrorless waters and their most recent APS-C EOS M cameras have been quite nice. So, in my opinion, if Canon really wants to push out a killer FF MILC, they will absolutely be able to do so.Same thing with NIKON, who have extensive mirrorless experience with their Nikon 1 series cameras.It's not whether or not CaNikon could deliver great FF MILCs but when they are going to deem it worthwile doing it.

Canon has options. They could go ASPH with the EFM mount or FF with a really tight fit. They could go EF mount or they can even go dual VF / hybrid EVF.Not everyone wants a small camera and I would think most folks have more than one body to complement the other.

When Canon release a FF mirrorless it will outsell Sony no matter what tech it has in it.

Just look at Amazons top sellers.I suspect Rebels are still outselling all Sony mirrorless cameras combined and there is no urgency for Canon to stop the cash cow.

The Canon EOS-M system can perfectly accommodate a full frame sensor. All they have to do is release the body, an adapter, and a handful of lenses.

Nikon is in a tougher spot and probably even considering releasing a Pentax K-01-style monstrosity by clinging to F mount. It will be even more awful than the Nikon Df. In a way I'm hoping Nikon will come to its senses and join forces with Sony. Getting Sony (Minolta) G, Zeiss, and Nikkor lenses all in one system would be seriously disruptive.

I still don't understand this FF mirrorless thing. On the back of the 5D/1D is a button, it says "liveview", tada, the camera is now a full frame mirrorless. And when Canon does a true mirrorless, it'll be on the EF mount and it'll be the end of Sony. Canon have a huge EF lens legacy which Sony simply can't match. Sony will be the next Samsung, a company with a technically superior product, but faltering sales. All the salesman time will be given to Canon.

Good conversation and thanks for the info. I think it is 6 and one half dozen of the other. If the viewfinder is good enough I don't think many would care if the body was mirrorless or not. If the AF performance was improved then folks would prefer it. I do not see the mirror based cameras like the 1D or 5D as being challenged for photography. Mirrorless just has some new tech for focus and a little smaller size but it does not put the mirrors out of business.

If Canon can go mirrorless while using their EF mount then I think they have played it well. Don't offer one until it is killer.

But on the other hand, Sony can make the A99 style body with the a9 tech & e-mount and I would probably be a buyer. Ergonomics seem easy to me but Sony has decided to go with the brick design. I guess to differentiate. Will be interesting to watch it unfold.

The OP presents an example of a principle that was described by James Utterback of MIT in "Mastering the Dynamics of Innovation." Process innovation (like improvement in a DSLR) usually comes comes from within the industry. Product innovation often originates within the industry, but it's brought to market by outsiders.

Incumbents are concerned about having to write off their existing investments, and they fear "eating their own lunch," failing to see that others will eat it for them. Mirrorless high-end cameras are an example. Producing competitive FF pro-level mirrorless is not in the DNA of Canon or Nikon.

Kudos to the Dpreview team for performing such a fast and comprehensive review.

I'm one of those people heavily invested in Canon glasses (even with a 500L). I have been using the 5D3 for 5 years but am hessitate to update to Mark 4. Last year I picked up a A7ii mainly to adapt (Techart) it with the Leica 35mm f2 and 90mm f2.8. The AF is acceptable and the results are good although I still prefer Canon's color and operation.

If it is not the hassle to sell glasses I wouldn't mind to totally switch to the Sony system. In the meantime, I will probably sell my A7ii and go for the A7riii. I might even get the MC-11 and see how the adapted Canon lenses perform. This review has made my decision easier.

If you use your 500L for far subjects the A7RII would work quire well with it. I used the A7RII with the 500L a lot for soccer or rugby very successfully. I can see the A7RIII being even better at that now with better af, frame rate and, buffer.

Wow - genuinely impressed with how Sony is pushing ahead of the crowd. The lack of dual card slot, no joystick and tiny battery were some of the issues keeping me away from the previous offerings. Might finally take the leap

Ya know - the a7r2 is nicely priced and with 3rd party batteries at about $15.00, and/or tether tools' adaptor for portable chargers, or running a charger via the micro USB port, - the battery issue is well overstated.

I still have the basic A7, at first, I hated it but with time and hundreds of pictures we manage to get along pretty well, I think is the best value for the money in the full frame world. If a reasonable price 4K A7iii comes in a few months I might get it, but otherwise, I will consider the mini A7rii AKA "a6500".

The LA-EA4 adapter simply overrides the internal AF system and replaces it with the ancient one in the adapter. None of the fancy focussing features are supported. The LA-EA3 allows acces to these modes but only with select ssm lenses. An adapter for the canon EF mount doesn't have these limitations and allows a wider variety of lenses and is equally functional. And most third party lenses are not even produced in A-mount anymore

So no Eye AF with Sony A-mount lenses and LA-EA3 on A7RIII? But Eye AF with adapted old Canon lenses? I think Sony should bring out new LA-EA adapter, which supports Eye AF, if they really care their A-mount customers at all.

This is the very first camera which I consider more capable than my NX1 (apart for video). The A9 has too few MP and is way too expensive. Not that this one is cheap, but at least has a huge resolution.

Both this and the D850 appear to be great cameras, but for my style of shooting (wildlife), I just don't need them. The performance at higher ISOs is really only impressive if you downsize the image. When viewed at 100%, the D500 is actually cleaner. Surprising, but true. I can see these being awesome cameras IF you don't need to crop.

Comparing a 20 Mp and 42 Mp sensor at 100%? Do you realize that you are comparing very different image size? Or are you comparing the files at pixel level for subjects so small that they don't even fill the aps-c format?

@ xPhoenix: I would agree if you never ever capture a subject so than more than the aps-c frame is filled. Normally we FF users do fill the full frame! And if we are photographing small subjects, like birds far away, we still can crop a lot.

I'm rarely able to fill the frame with wildlife, unless it's a large animal, so I just use APS-C. When I can fill the frame, or most of it, I do use a FF camera. One area where the Sony may be better is stabilization. It sounds like the D850 requires higher shutter speeds to get the sharpest images. It'd be nice to have in-body stabilization on my Nikons.

Quite right, and that also supports what I said :) But I did not say the same thing for A7RII. I think it had a little bit too many negatives to be an "overall better" tool than A9 (subpar battery life, single SD card, bad menu, not-best-in-class weather resistance, no touch screen, only good-enough AF performance etc..). A7RIII is a very good refinement though.

Thanks for the review. Maybe consider adding motion artifacts when using electronic shutter to one of its limitations in the summary to make it clear that A9 is still the camera to go for silent shooting?

The a99ii has a few major flaws. The autofocus system has been shown to be not that reliable by DPR but even more so, the loss of light due to the SLT system and the lack of proper manufacturer and third party support. It is a system on the way out together with the whole A-mount platform

That is because it isn't a DSLR but an awkward mix of DSLRish body without a mirror while not being a proper mirrorless design. Kinda stuck in the middle without appealing to any party in a special way

Basically, some buttons - like the AF-ON and AEL buttons - don't actually move much when you press them in, and for those who are shooting in cold weather and wearing gloves, it could be hard to feel them at all.

The buttons should be backlit buttons like on the D850 and D5....this is esp. valid for the A9 or A9 mkII every sportsflagship lowlight camera has it on board 1dx series nikons d4,5 models!

So you could give one more cons point no backlit buttons!!!

1. What do you mean with no in-raw camera conversion??? Is this meant to the pixel shift mode that the A7rmk3 cannot create the stitched high pixel file internally like the olympus pen f/em1 II, pana g9 and pentax K1??

2. Is it finally possible to save the raw file in a lossless compressed raw format option like on nikon/canin models?? If not would be another cons point that would increase overall cmaera speed operation, read and writing to the camera as well as save memeory card space!!!!

Or is it possible to save a file as a DNG one like on Ricohs cameras???

Hmmm... I handled an a7Riii at the introduction at Photo Expo in NY City, and OK, I didn't put gloves on inside the Javits Convention Center, but the controls were far more responsive and easy to use by feel than my a7Rii controls. I think the review is really scratching here for things that are "cons".

I do agree that backlit control buttons would be a very nice feature, like the Nikon D850 has.

We're not at all scratching for 'cons'. Pros rely on finger / muscle memory to activate buttons on their camera. If you can't even feel the button or feel it activate (if there isn't enough haptic feedback when you press it), that undermines this entire approach.

The AF-ON and AEL and C3 and most buttons on the Sony cameras absolutely need far more travel and haptic feedback. At least the rear jog dial has gotten far better.

More about gear in this article

A couple months ago Sony released a major firmware update for its a7 III and a7R III cameras that includes significant new features and functionality. We've tested it, and here's why we think it's important.

Now that Nikon has entered the full-frame mirrorless camera market, the natural question that comes up is how its first model, the Z7, compares to Sony's high resolution king, the a7R III. We take a look at how these two cameras stack up against one another.

Tamron's 28-75mm F2.8 lens for E-mount is sharp, compact and is the first third-party standard zoom for the system. While we work through our full review, check out our preliminary sample gallery to get a feel for how it performs.

Sony has released new firmware for its a7R lll to insert a new option for Pixel Shift Multi Shooting that reduces the delay between frames to 0.5 sec. Firmware v1.10 adds the 0.5 sec delay setting to the menu so users can halve the current shortest time between frames taken with the camera in Pixel Shift Shooting mode.

Latest in-depth reviews

360 photos and video can be very useful for certain applications (as well as having fun). The Vuze+ is an affordable 360 camera that supports both 2D and 3D (stereo vision) capture, and might be the best option for someone wanting to experiment with the 360 format.

The Mikme Pocket is a portable wireless mic with particular appeal to smartphone users looking to up their game and improve the quality of recorded audio without the cost or complexity or traditional equipment.

The 90D is essentially the DSLR version of the EOS M6 Mark II mirrorless camera that was introduced alongside it. Like the M6 II, it features a 32MP sensor, Dual Pixel AF, fast burst shooting and 4K/30p video capture. It will be available mid-September.

The S1H is a full frame mirrorless camera designed with videographers in mind and includes advanced features like 6K video capture, 4:2:2 10-bit internal recording, improved video scopes, high frame rate recording, Panasonic Varicam color science and more.

Latest buying guides

If you want a compact camera that produces great quality photos without the hassle of changing lenses, there are plenty of choices available for every budget. Read on to find out which portable enthusiast compacts are our favorites.

Whether you're hitting the beach in the Northern Hemisphere or the ski slopes in the Southern, a rugged compact camera makes a great companion. In this buying guide we've taken a look at nine current models and chosen our favorites.

What's the best camera for under $500? These entry level cameras should be easy to use, offer good image quality and easily connect with a smartphone for sharing. In this buying guide we've rounded up all the current interchangeable lens cameras costing less than $500 and recommended the best.

If you're looking for a high-quality camera, you don't need to spend a ton of cash, nor do you need to buy the latest and greatest new product on the market. In our latest buying guide we've selected some cameras that while they're a bit older, still offer a lot of bang for the buck.

Whether you're new to the Micro Four Thirds system or a seasoned veteran, there are plenty of lenses available for you. We've used pretty much all of them, and in this guide we're giving your our recommendations for the best MFT lenses for various situations.

Blackmagic has announced an update to Blackmagic RAW that adds support, via plugins, to Adobe Premiere Pro and Avid Media Composer. Blackmagic also announced a pair of Video Assist 12G monitor-recorders with brighter HDR displays, USB-C recording and more.

Sony has announced the impending arrival of its next-generation video camera system, the FX9. The full-frame E-mount system is set to be released later this year with a 16-35mm E-mount lens to follow in spring 2020.

The Canon G5 X Mark II earns a Silver Award with its very good image quality, flexibility and the overall engaging experience of using the camera. However, if you need the very best in autofocus and video, other options may suit you better. Find out all the details in our full G5 X II review.

The Fujifilm X-A7 is the newest addition to the company's X-series lineup. Despite its relatively low price of $700 (with lens), Fujifilm didn't skimp on features. Click through to find out what you need to know about the X-A7.

The entry-level Fujifilm X-A7 improves upon many of its predecessor's weak points, including a zippier processor, an upgraded user experience and 4K/30p video capture. It goes on sale October 24th for $700 with a 15-45mm F3.5-5.6 kit lens.

Robert Frank's unconventional approach to photography and filmmaking defied generational constraints and inspired some of the most influential artists of the 20th century. He passed away today at age 94.

All three devices offer a standard 12MP camera plus, for the first time on an iPhone, an ultra-wide 13mm camera module. The 11 Pro and 11 Pro Max also retain the telephoto camera of previous generations.

Phase One's new XT camera system incorporates the company's IQ4 series of digital backs with up to 151MP of resolution and marries them to a line of Rodenstock lenses using the new XT camera body. The result is an impressively small package for one of the largest image sensors currently on the market - take a closer look here.

Phase One has announced its new XT camera system, which includes an IQ4 digital back, body (made up of a shutter release button and two dials) and a trio of Rodenstock lenses. The company is marketing the XT as a 'travel-friendly' product for landscape photographers.